Burley Man
Act II, Scene 3
Late afternoon light. The scene is the same. The discarded clothing of the last scene has been removed. Some of the boxes have been moved around. The neighborhood dog is heard barking in the distance.
At rise, EDWARD is painting the wall opposite the dining area. He is shirtless again and stands on a short step ladder to reach the top of the wall. He is doing trim work along the top with a hand brush. He is whistling.
After a moment, JOANNA and MADGE descend the stairs, each carrying an old dusty box from the attic. They carry the boxes over to the dining table as they talk.
MADGE
(She has given in.)
Oh, Joey. What am I gonna do without you? Just Pa and me is gonna drive me crazy.
JOANNA
Madge, it ain't gonna happen for at least six months, I figure. And in that time, you gotta help me get ready for the wedding.
MADGE
I don't suppose you'd let me talk you outta this.
JOANNA
Not a chance. Sometimes you just gotta take life where you can find it. Just be happy for me.
MADGE
I'll be happy for you, but just because you want me to be happy for you.
JOANNA
It's a deal. . . . Okay, this is everythin' from the attic. If daddy's will exists, it's here somewhere.
MADGE
I gotta go get Pa's supper started. You need me for anythin' else right away?
JOANNA
No. I should get somethin' into the oven myself here pretty quick.
MADGE
You want to eat supper with Pa and me?
(MADGE starts out through the kitchen and back door.)
JOANNA
(Calling after.)
Not tonight. I wanna fix somethin' special for me and Eddy.
MADGE
Now why would you wanna do somethin' like that?
(She's gone.)
JOANNA
Hey, macho man, what you want for supper?
EDWARD
If you fix it, it will be just fine.
JOANNA
Just fine? Is that all?
EDWARD
(Stepping down off the ladder and putting down the paint and brush.)
You know, I could use a kiss break.
JOANNA
Already? It must've been a whole five minutes since your last kiss break.
EDWARD
Your kisses are the air I breathe. I can't go too long without 'em.
JOANNA
You ‑‑
(They kiss and embrace.)
EDWARD
Mrs. Joanna Wilkins. How's that sound to you?
JOANNA
It sounds like it's always been that way.
EDWARD
You always been a Mitchell?
JOANNA
(Pause.)
What's that supposed to mean?
EDWARD
I dunno. Maybe there's some secret marriage in your past I don't know about.
JOANNA
I don't want to talk about it.
EDWARD
What?
JOANNA
I want to know what you want for supper. Speak now or eat whatever I fix for you.
EDWARD
Actually, I'm not real hungry yet. I'm thinkin' I can finish this one wall before it starts gettin' dark.
JOANNA
Okay, I'll rummage through daddy's boxes for a while. . . . You gonna let me go?
EDWARD
I'll never let you go. . . . Well, okay, one more kiss?
(They kiss and break. EDWARD picks up the paint and brush and re-ascends the ladder. JOANNA returns to the boxes on the dining table and begins going through the papers inside.)
JOANNA
(Going through papers.)
Daddy, daddy, did you keep every paper of your life? It looks like this whole box is nothin' but old bills. Gas bills, grocery bills, credit card bills, phone bills, bills, bills, bills.
(She moves the box to the side.)
One down.
(She starts working on another box.)
EDWARD
How much you think you can get for the house?
JOANNA
I dunno. The new paint should help. I can get somebody to help me fix up the lawn. I'll go talk to the real estate office on Monday on my lunch hour.
EDWARD
I suspect you won't even be able to put it on the market 'til after your daddy's will goes through probate.
JOANNA
You're probably right. If I can find the damn thing, maybe Mr. Shoemaker can come over and pick it up today.
(The neighborhood dog is heard barking in the distance.)
EDWARD
That damn dog. There he goes again.
JOANNA
I know. It's the kids. They tease it.
EDWARD
Speakin' of kids. You want any?
JOANNA
(Looking at papers.)
Any what?
EDWARD
Kids?
JOANNA
(Looking up.)
What?
EDWARD
(Still painting.)
Do you want to have any children, Mrs. Wilkins?
JOANNA
(Pause.)
Do you want children, Mr. Wilkins?
EDWARD
Maybe. Maybe one or two. But we don't have to if you don't want any. . . . I know your biological clock is ticking.
JOANNA
(Returning to the papers.)
You can hear it tickin' all the way over there, can you?
(They are quiet a moment; he painting and she reading through papers.)
EDWARD
Tick, tock, tick, tock.
JOANNA
Would you stop that?!
EDWARD
(He pouts like a wounded little boy.)
Yes, mommy.
(Then he breaks off the play and resumes painting with his back to JOANNA. There is a long silence, the dog barking in the distance, as EDWARD paints and JOANNA stands frozen. The tears start to glisten her cheeks as they fall. Finally, EDWARD turns and sees JOANNA.)
Joanna?
(He quickly gets down, puts down the paint and brush, and moves to her.)
Joanna? What is it?
(She turns and buries her head against his chest. He embraces her gently.)
It's okay. It's gonna be okay. . . . I didn't really want children. At least not right away. I was just teasin' you. . . . It's okay. I know everythin's happenin' so fast. Your daddy just died. And then I show up on your doorstep. Hell, it'd rattle anybody. . . . Joanna? . . . You go ahead and cry. It'll do you good. I'll be right here. . . I love you, Joanna. I'll always love you. I know I'm young and all. But I'm a man of my word. I know what honor is about. And when I say I'll love you forever, you can take that to the bank and cash it. Yes, sir, to the bank and cash it. . . . We're gonna be so happy, you and me. After I get outta the Navy. I'll take good care of you. I'll love you forever. . . . So you go ahead and cry. Everythin's gonna be all right.
JOANNA
(Pulls away from him and wipes her tears away.)
You can be downright nauseating at times, you know that.
EDWARD
(Pause.)
Was it the children thing? Do you want to have kids right away or somethin'?
JOANNA
I don't want children. I don't want to have any children.
(She digs into a box of papers again.)
Now go paint and leave me alone for a minute.
EDWARD
Okay. . . . A kiss first?
(JOANNA turns and looks at him deeply. Then she steps in and kisses him passionately and long. Then she drops it and returns to the papers.)
EDWARD (Continued)
Wow! You sure you don't want to do somethin' else right now?
JOANNA
I want you to go paint. I want me to find my daddy's will.
EDWARD
You got it.
(He returns to his painting. After a moment, MADGE enters from the back door through the kitchen.)
MADGE
Well, supper's in the oven. You two need any help over here?
JOANNA
(Closing up the second box.)
Two boxes down.
MADGE
(MADGE moves up to JOANNA.)
No will?
JOANNA
No will. A man can sure acquire an awful lotta junk over the years.
EDWARD
(Painting.)
How long you and your daddy live here?
JOANNA
(She looks at EDWARD, then at MADGE.)
About fifteen years.
(No response from EDWARD.)
MADGE
Joey, why'd you do that?
JOANNA
(Looking to EDWARD; he is busy painting.)
Because I'm fixin' to carry these two boxes back up to the attic. You wanna help?
MADGE
(Pause. The two women exchange a long look.)
I'll carry both of 'em up. You stay here and keep lookin' for your daddy's will.
(MADGE picks up one of the boxes JOANNA has set aside.)
I figure you got about "fifteen years" worth of papers to go through.
(She carries the box upstairs. EDWARD continues painting. JOANNA starts going through another box.)
JOANNA
(Lifting another box into position, she begins the search anew.)
Damn it. You know it's gonna be in the very last box I go through.
EDWARD
Why don't you start with the last box and work your way back to the first box.
JOANNA
Then it'll be in the box I set aside so's I can go to the last box, and it'll stay there 'til I get back to it.
EDWARD
Would that then make the last box the next box and the next box the last box?
JOANNA
I'm glad you're paintin' and I'm lookin' 'cause you'd never find it.
EDWARD
How come?
JOANNA
'Cause you'd never know what box you was lookin' in, that's why.
(The conversation ceases for a moment. EDWARD begins whistling again. After he has whistled a while, JOANNA speaks again.)
JOANNA (Continued)
What're you whistling?
EDWARD
Just a song my father taught me.
JOANNA
You know, you've hardly mentioned your folks. What're they like?
EDWARD
You mean your future in‑laws?
JOANNA
Yes. You think I'm gonna get along with my future mother‑in-law?
EDWARD
Which one?
JOANNA
Your adopted mother, which would make her my adopted mother-in‑law. I don't ever wanna meet the other one.
EDWARD
You don't like the idea that I had an affair with my step‑mom?
JOANNA
It's not that, really.
EDWARD
It's not like she was my real mother or anything.
(He paints without noticing that she buries her face in her hands.)
EDWARD (Continued)
It's too bad I didn't find my real mother though. It'd be nice if she could come to the wedding.
(He continues to paint without turning to see her agony.)
EDWARD (Continued)
But then, that would make three mother‑in‑laws, I mean, mothers‑in‑law.
(Still painting. Still hiding behind her hands.)
EDWARD (Continued)
It don't matter if you get along with my parents or not. If you get along with 'em, that's good. If'n you don't, we don't have to see them. They're not my real parents anyway.
(MADGE enters coming down the stairs. Hearing her descent, JOANNA quickly composes herself and resumes her search of the boxes.)
MADGE
Any success yet?
JOANNA
No, but I'll have another box ready when you get back from takin' that one up.
MADGE
(She picks up the second box and heads for the stairs.)
Yes, mas'a. Maddy work hard for her mas'a, you see.
JOANNA
You don't have to help, Madge.
MADGE
Oh, Maddy work hard for her mas'a.
(Going up stairs.)
Maddy, good slave, you see.
(MADGE begins singing a throaty Gospel song as she climbs out of view.)
JOANNA
I'm gonna miss her.
EDWARD
Joanna, we can live here after we're married, if you want.
JOANNA
No. This town, this house, they got too many memories. Too many bad memories. I wanna go somewhere where no one knows anythin' about me. Where no one knows where I come from or anythin'. I wanna start all over again. Is that bad?
EDWARD
Why would that be bad?
JOANNA
'Cause I'm kinda runnin' away.
EDWARD
Runnin' away from what?
JOANNA
(She thinks carefully about this, then with a shrug, she returns to her searching.)
I don't know. Maybe myself.
EDWARD
Got time for another kiss break?
JOANNA
Will you just paint?
EDWARD
Yes, mas'a. Eddy, good slave, you see.
(EDWARD begins whistling the same song MADGE was singing as she exited.)
JOANNA
Oh, you two are gonna drive me to drink, I swear.
(She closes up this box and sets it aside. She stands for a moment looking over the remaining boxes.)
JOANNA (Continued)
I don't suppose I can tell what's in a box by lookin' at the outside.
EDWARD
(Looking over.)
If you can, we got us enough creamed corn to last all winter.
JOANNA
(Closing her eyes and raising her hands, palms forward, toward the boxes.)
Oh, I'm sensing somethin'. I'm sensin' daddy's will. Come to Joey. Come to Joey, daddy's will.
(She opens her eyes and drops her hands.)
Hell.
(She picks up a box at random.)
You'll do for next.
(JOANNA lifts it onto the table and begins going through its contents. We hear MADGE continuing her song before we see here coming down stairs. She finishes the song as she reaches the bottom step.)
MADGE
You know, Joey, if'n I hurt myself carryin' these boxes for you, you gotta come over and fix supper for Pa and me all the rest of the week.
JOANNA
(Looking closely at some papers. She puts a handful of papers to the side of the box out of her way.)
Uh‑huh.
MADGE
(Coming over to JOANNA.)
This box next?
JOANNA
(Looking deeper into the papers.)
Uh‑huh.
(MADGE bends and lifts the next box as JOANNA pulls a folded document from the box.)
I think I got it.
(MADGE and EDWARD stop what they're doing, but do not turn to face JOANNA.)
I think I got it. . . . I got it! I found it!
(EDWARD steps off the ladder and over to the dining table. He sets the paint and brush on the table next to JOANNA's box. MADGE puts down her box and moves over to share in the discovery.)
Yes, yes. I found it!
EDWARD
It looks old. You sure it's the right one?
JOANNA
Yes, Mr. Shoemaker said daddy made up his will right after my momma died. . . . What time is it? Do I have time to call Mr. Shoemaker?
(EDWARD lifts his arm so JOANNA can read his watch.)
Yes!
(She breaks away from MADGE and EDWARD and moves to the phone. The phone book is still open to the right page.)
JOANNA (Continued)
Maybe Mr. Shoemaker can come by and pick it up this afternoon. Then it won't have to sit around all weekend.
(She lifts the receiver and begins dialing. MADGE and EDWARD just watch.)
JOANNA (Continued)
Hello, Mr. Shoemaker's office? This is Joanna Mitchell? Mr. Shoemaker wanted me to call if I found the original of my daddy's will? And I just found it in some boxes I
was goin' through? Is Mr. Shoemaker still in the office maybe? . . . Yes, I'll hold.
(While she waits, she looks over the old legal document.)
JOANNA (Continued)
Oh, daddy, I guess I haven't really said goodbye yet, have I. . . Yes, Mr. Shoemaker? This is Joanna Mitchell? I found the will, Mr. Shoemaker. D'you wanna come by and pick it up today? . . . Yes, we'll be here. . . . Okay, fine, thank you, Mr. Shoemaker, see you then.
(She hangs up. She moves to the couch and sits down, still looking at the will. MADGE and EDWARD are silent and unmoving. JOANNA does not acknowledge them behind her.)
JOANNA (Continued)
Oh, daddy, why? We coulda been happy. I know we coulda. Why couldn't you forget, daddy. That was your problem, you couldn't forget.
(Her voice takes on a steely tone.)
Or you wouldn't forget. You just wouldn't let go.
MADGE
(Softly.)
Joey, you gonna be okay?
JOANNA
(Abruptly.)
What? Oh, yes, I'll be fine.
(She rises and puts the will next to the telephone.)
Yes, we gotta celebrate. We gotta celebrate findin' daddy's will.
EDWARD
We'll have champagne.
JOANNA
We'll have champagne and we'll celebrate. I'm gonna run over to the liquor store and buy some champagne.
MADGE
I suppose you two can celebrate better without me taggin' along.
JOANNA
No, you gotta celebrate with us, Madge. You gotta celebrate our engagement and our findin' daddy's will. Okay?
MADGE
How about I come back after feedin' Pa? We can celebrate then?
JOANNA
Yeah, that'll be fine. I'm gonna go to the liquor store and buy some champagne.
(JOANNA heads for the stairs.)
I'm just gonna change my shirt real quick. If Mr. Shoemaker comes by while I'm gone, you just tell him the will's there next to the telephone.
(JOANNA exits upstairs.)
MADGE
I may not agree with things the way they stand, Eddy, but I can tell you I ain't never seen her this happy in all the time I've known her.
EDWARD
You known her since she moved in here?
MADGE
(She looks at EDWARD for a moment.)
Yes, I've known Joey a long time.
(She tries to change the subject.)
Lordie, Lordie, we got us a mess, don't we. I guess we don't need all these boxes anymore.
EDWARD
All these old papers.
(EDWARD and MADGE start looking through some of the papers and stuff in the box.)
MADGE
My word, looks like Joey hit the jackpot with this box. Here's Mr. Mitchell's deed on the house. Here's his birth certificate. There's even some old pictures in here. Look, here's Joey and her momma.
EDWARD
How old was Joanna when her momma died?
(EDWARD takes the picture and looks at it.)
MADGE
Oh, let's see. She was about seventeen.
(MADGE continues to rummage through the box.)
MADGE (Continued)
She died in her sleep. Strange, kinda. She was too young to just die in her sleep. . . . Here's even his marriage license to Joey's momma. Mr. Charles Gerald Mitchell. Ms. Josephine Anna O'Farrel. Married April 27, 1959.
(She hands him the license.)
MADGE (Continued)
And here's Joey's birth certificate. Joanna O'Farrel Mitchell. We should leave this box for Joey to go through later. You know she'll just get a kick outta all this stuff.
EDWARD
(Quietly.)
Get out.
MADGE
What was that?
EDWARD
(Blindly.)
Get out!
MADGE
Eddy, what's the matter?
(EDWARD backhands the box off the table and against the wall. MADGE yells out in surprise, backs away, and edges out the front door which is her fastest way off stage.)
(EDWARD slams his fists against the dining table, over and over again. His face grimaces in a contortion of nausea and fury. He whimpers like a dying animal. JOANNA appears coming down the stairs. EDWARD hurls the paint gallon through a window blocked from the audience's view by the stair unit. We HEAR the glass shattering.)
(She screams when she hears the glass shattering. She has reached the bottom of the stairs and sees EDWARD's fury.)
JOANNA
Oh, my god, Eddy?
(She moves toward him.)
Eddy, what is it?
(EDWARD lifts the table and sends it crashing to the floor. As soon as the table clears, JOANNA rushes in to calm him.)
JOANNA (Continued)
Eddy, what is it? Eddy! Can you hear me? You've gotta calm down, Eddy.
(EDWARD grabs her by the upper arms and pushes her away from him. She cries out in pain.)
JOANNA (Continued)
Eddy, stop.
(He starts to move around the room, yelling out in unintelligible sounds of fury. JOANNA once more rushes in and gets her arms around him.)
JOANNA (Continued)
Eddy, it's me, Joey!
(He pivots, flinging his arm, and catches her across the face, knocking her back and away. She recovers as quickly as she can, moving in on him again.)
JOANNA (Continued)
Eddy! You gotta listen to me! Eddy!
(He once more grabs her and holds her at arms length. His eyes briefly focus on her.)
JOANNA (Continued)
Eddy! Look at me! Do you see me? Eddy! It's me, Joey!
(He hurls her across the stage, bouncing her off the wall. Her cry is blunted as the air is punched out of her lungs. He descends on her as she tries to regain her footing. Grabbing her again, he slams her against the wall. Then a second time. Then a third time. She slumps to the floor. He lifts her by the collar with one hand and throws her to the floor behind the couch. Then he charges the wall, slamming his own head against it. A second time brings blood to his forehead. His eyes focus, lose focus, and then focus again. He cries out. He sees JOANNA lying on the floor. He lifts her up with one hand like a rag doll and tosses her onto the sofa. He seems to forget where he is for a moment, his eyes wandering quickly from object to object. Then he seems to remember, and places his fists against his bleeding forehead. Once, twice, he beats his fists against his face. He beats his fists against his mouth, bringing new blood. Then he beats his fists against his loins. He is circling like a caged animal. JOANNA is motionless. EDWARD continues searching. Then he steps into the doorway between the kitchen and the living area. He grabs the downstage doorframe and slams his head against the doorframe. He does this three times in quick succession. His face is quite bloody now. Then there is a pause. He moans. He slams his head against the doorframe again, losing his grip with the impact. He leans in against the doorframe with his body. His eyes glaze over. His body slumps to the floor.)
(There is quiet for a long moment. Then the neighborhood dog begins to howl.)
(BRIAN steps into view on the front porch. He has a tentative, sheepish manner about him. He peers in through the screen door, but the bodies are not visible from his vantage point. Seeing no one, he tentatively knocks.)
BRIAN
Joey? Joey, it's me, Brian. Are you home? Joey? I don't mean to bother you, honest. I just wanted to say I was sorry about this morning. I'm gettin' ready to pull out first thing tomorrow and I won't be back for 'bout a week, and I wanted to say I was sorry before I left, you know? . . . Joey?
(BRIAN opens the screen door and enters.)
BRIAN (Continued)
Please don't be angry with me. You're right, I'm a stupid person. I know that. And I won't bother you any more.
(He steps into the room and directs his voice up the stairs.)
BRIAN (Continued)
Joey? I just want you to know that I'm gonna move away, okay? I'm gonna go so you can stay and be happy, Joey. I want you to be happy. And I'm sorry.
(He turns and sees EDWARD in the kitchen doorframe.)
BRIAN (Continued)
Oh god, oh god.
(Then he sees JOANNA on the couch.)
Oh god oh god oh god, ahhh god. Oh God, oh god, oh god.
(JESSE appears coming up on to the porch.)
(BRIAN's knees weaken, but he will not allow himself to sink down, so he bobs up and down, up and down, his eyes wide at the sight before him.)
BRIAN (Continued)
Oh god, oh god, oh god.
(JESSE reaches up to ring the doorbell, but peers in when he hears BRIAN muttering. BRIAN's muttering continues under JESSE's lines.)
JESSE
Brian? Brian Martin, is that you?
(JESSE lets himself in through the screen door.)
JESSE (Continued)
Brian, what the hell're you doin' here?
(Coming up to BRIAN, JESSE starts to shake him, then looks over to see EDWARD lying on the floor.)
JESSE (Continued)
Oh my.
(Then he sees JOANNA on the couch.)
Are they dead?
(He steps over to JOANNA's body and checks her throat for a pulse.)
JESSE (Continued)
Check the boy. . . . Brian! Check the boy!
(BRIAN comes to himself long enough to move over to EDWARD's body.)
JESSE (Continued)
I think she's dead.
(Kneeling, BRIAN fights his own nausea to put his hand against EDWARD's bloody neck. He holds his hand there as long as he can stand it.)
JESSE (Continued)
Well?
BRIAN
(Fighting down his hysteria.)
He's dead. They're both death.
(BRIAN sits down on the floor and begins rocking gently as he whimpers.)
(JESSE moves to the telephone. He picks up the receiver and dials three digits. Pause.)
JESSE
Yes, this is attorney Shoemaker over at the Mitchell house. . . Madge Isaacs?
(He looks around the room and kitchen quickly.)
JESSE (Continued)
No, she must've called from her own house. She lives just next door. . . .
(The neighborhood dog is heard howling, and we also hear the distant sound of a siren which will grow louder over the next moments.)
JESSE (Continued)
Yes, I hear the sirens now. Yes, thank you, I will. . . . Two bodies. One male, about eighteen I'd guess. The other, female, mid-thirties. . . . No, a Mr. Brian Martin is also here. He was here when I arrived. . . . I just walked in. Maybe two minutes. . . He's rather hysterical at the moment. I'll see to it that he understands his rights before he makes a statement. . . . Yes, I'll hold until the officers arrive. Thank you.
(JESSE sees and picks up the will. The siren now drowns out the dog howling in the distance.)
(BLACKOUT)
END OF PLAY